Abridged Bibliography

Books

  1. Boulanger, Richard. The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing, and Programming. Cambridge: MIT Press, 2000.
  2. Chadabe, J. 1997. Electric Sound: The Past and Promise of Electronic Music. New Jersey: Prentice-Hall.
  3. Cope, David. 1991. Computers and Musical Style. Oxford: Oxford University Press.
  4. Cope, David. 1996. Experiments in Music Intelligence. Madison, WI: A-R Editions.
  5. Cope, David. Virtual Music. MIT Press, 2001.
  6. Cope, David. The Algorithmic Composer. Madison, WI: A-R Editions, 2000.
  7. Dodge, Charles. and T. A. Jerse. 1997. Computer Music: Synthesis, Composition, and Performance. New York: Shirmer Books.
  8. Emmerson, Simon. The Language of Electroacoustic Music. Harwood, 1986.
  9. Johnson, S. 1997. Interface Culture: How New Technology Transforms the Way We Create and Communicate. San Francisco: Basic Books.
  10. Kalay, V. E. 2004. Architecture's New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge: The MIT Press.
  11. Lerdahl, Fred and R. Jackendoff. 1983. A Generative Theory of Tonal Music. Cambridge: MIT Press.
  12. Lerdahl, Fred. Tonal Pitch Space. Oxford University Press, 2004.
  13. Maeda, J. 2001. Creative Code: Aesthetics + Computation. New York: Thames & Hudson.
  14. Maeda, J. 2001. Design By Numbers. Cambridge: MIT Press.
  15. Manning, Peter. Electronic and Computer Music. Oxford U. Press, 2004.
  16. Miranda, Eduardo Reck. Composing Music With Computers. Burlington: Focal Press, 2001.
  17. Miranda, E. R., ed. 2000. Readings in Music and Artificial Intelligence. Amsterdam: Harwood Academic Publishers.
  18. Pope, S. T. 1991. The Well Tempered Object: Musical Application of Object Orientated Software Technology. Cambridge: MIT Press.
  19. Puckette, Miller. Theory and Techniques of Electronic Music (draft). UCSD, 2003. Internet: http://www.crca.ucsd.edu/~msp/techniques.htm
  20. Roads, Curtis. The Computer Music Tutorial. MIT Press, 1996.
  21. Roads, Curtis. Microsound. MIT Press, 2001.
  22. Rowe, Robert. Interactive Music Systems: Machine Listening and Composing. Cambridge: MIT Press. 1993.
  23. Rowe, Robert. Machine Musicianship. MIT Press, 2002.
  24. Reuter, C. 2002. Musical Dice Games; by Mozart, Haydn, and other great composers. Mainz: Schott Musik International.
  25. Schillinger, J. 1941. The Schillinger System of Musical Composition. New York: Carl Fischer.
  26. Schillinger, J. 1948. The Mathematical Basis of the Arts. New York: Carl Fischer.
  27. Selfridge-Field, E. ed. Beyond MIDI: the Handbook of Musical Codes. Cambrdige: MIT Press. 41-72.
  28. Winker, Todd. Composing Interactive Music. MIT Press, 1997.
  29. Winsor, P. 1987. Computer-Assisted Music Composition. Princeton: Petrocelli Books.
  30. Winsor, P. 1989. Automated Music Composition. Denton: University of North Texas.
  31. Winsor, P. 1990. Computer Composer's Toolbox. New York: Windcrest.
  32. Winsor, Phil. Computer Music in C. UNT Press, 1991.
  33. Wishart, Trevor. Audible Design. Orpheus the Pantomime Ltd., 1994.
  34. Wishart, Trevor. On Sonic Art. Routledge, 1996.
  35. Xenakis, Iannis. Formalized Music. Pendragon Press, 1994.

Articles

  1. Ames, C. 1991. "A Catalog of Statistical Distributions: Techniques for Transforming Random, Determinate and Chaotic Sequences." Leonardo Music Journal 1(1): 55-70.
  2. Ames, C. 1989. "The Markov Process as a Compositional Model: A Survey and Tutorial." Leonardo 22(2): 175-187.
  3. Ariza, C. 2005. "Navigating the Landscape of Computer-Aided Algorithmic Composition Systems: A Definition, Seven Descriptors, and a Lexicon of Systems and Research." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 765-772. Internet: http://www.flexatone.net/docs/nlcaacs.pdf
  4. Beyls, P. 2004. "Cellular Automata Mapping Procedures." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 55-58.
  5. Dannenberg, R. 1993. "Music Representation Issues, Techniques, and Systems." Computer Music Journal 17(3): 20-30.
  6. Doornbusch, P. 2002. "A Brief Survey of Mapping in Algorithmic Compositions." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 205-210.
  7. Gogins, M. 1991. "Iterated Functions Systems Music." Computer Music Journal 15(1): 40-48.
  8. Honing, H. 2001. "From Time to Time: The Representation of Timing and Tempo." Computer Music Journal 25(3): 50-61.
  9. Johnson, C. G. 2003. "Exploring sound-space with interactive genetic algorithms." Leonardo 36(1): 51-54.
  10. Roads, C. 1979. "Grammars as Representations for Music." Computer Music Journal 3(1): 48-55.
  11. Simoni, M. 2003. Algorithmic Composition: A Gentle Introduction to Music Composition Using Common LISP and Common Music. Ann Arbor: Scholarly Publishing Office, the University of Michigan University Library. Internet: http://www.hti.umich.edu/cgi/t/text/text-idx? c=spobooks;cc=spobooks;q1=simoni;rgn=div1; view=toc;idno=bbv9810.0001.001; node=bbv9810.0001.001%3A4
  12. Spiegel, L. 1989. "Distinguishing Random, Algorithmic, and Intelligent Music." Internet: http://retiary.org/ls/writings /alg_comp_ltr_to_cem.html

Full Bibliography

Books

  1. Balaban, M. and K. Ebcioglu, O. E. Laske. 1992. Understanding Music with AI: Perspectives on Music Cognition. Cambridge: AAAI Press / MIT Press.
  2. Boulanger, Richard. The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing, and Programming. Cambridge: MIT Press, 2000.
  3. Brün, H. 2004. When Music Resists Meaning: The Major Writings of Herbert Brün. Middletown: Wesleyan University Press.
  4. Chadabe, J. 1997. Electric Sound: The Past and Promise of Electronic Music. New Jersey: Prentice-Hall.
  5. Cope, David. 1991. Computers and Musical Style. Oxford: Oxford University Press.
  6. Cope, David. 1996. Experiments in Music Intelligence. Madison, WI: A-R Editions.
  7. Cope, David. Virtual Music. MIT Press, 2001.
  8. Cope, David. The Algorithmic Composer. MIT Press, year.
  9. Dodge, Charles. and T. A. Jerse. 1997. Computer Music: Synthesis, Composition, and Performance. New York: Shirmer Books.
  10. Emmerson, Simon. The Language of Electroacoustic Music. Harwood, 1986.
  11. Goehr, L. 1992. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: Oxford University Press.
  12. Hertz, J. and A. Krogh, R. Palmer. 1991. Introduction to the Theory of Neural Computation. Redwood City: Addison-Wesley Publishing Company.
  13. Hofstadter, D. R. 1996. Fluid Concepts And Creative Analogies: Computer Models of the Fundamental Mechanisms of Thought. Basic Books.
  14. Holtzman, S. R. 1994. Digital Mantras: The Languages of Abstract and Virtual Worlds. Cambridge: MIT Press.
  15. Johnson, S. 1997. Interface Culture: How New Technology Transforms the Way We Create and Communicate. San Francisco: Basic Books.
  16. Kalay, V. E. 2004. Architecture's New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge: The MIT Press.
  17. Lerdahl, Fred and R. Jackendoff. 1983. A Generative Theory of Tonal Music. Cambridge: MIT Press.
  18. Lerdahl, Fred. Tonal Pitch Space. MIT Press, 2002.
  19. Loy, D. G. and P. M. Todd. 1991. Music and Connectionism. Cambridge: MIT Press.
  20. Maeda, J. 2001. Creative Code: Aesthetics + Computation. New York: Thames & Hudson.
  21. Maeda, J. 2001. Design By Numbers. Cambridge: MIT Press.
  22. Manning, Peter. Electronic and Computer Music. Oxford U. Press, 2004.
  23. Matthews, Max, ed. Current Directions in Computer Music Research. M. V. Mathews and J. R. Pierce, eds. Cambridge: MIT Press. 291-396.
  24. Miranda, Eduardo Reck. Composing Music With Computers. Burlington: Focal Press, 2001.
  25. Miranda, E. R., ed. 2000. Readings in Music and Artificial Intelligence. Amsterdam: Harwood Academic Publishers.
  26. Pope, S. T. 1991. The Well Tempered Object: Musical Application of Object Orientated Software Technology. Cambridge: MIT Press.
  27. Puckette, Miller. Theory and Techniques of Electronic Music (draft). UCSD, 2003. Internet: http://www.crca.ucsd.edu/~msp/techniques.htm
  28. Roads, Curtis. The Computer Music Tutorial. MIT Press, 1996.
  29. Roads, Curtis. Microsound. MIT Press, 2001.
  30. C. Roads, ed. 1985. Composers and the Computer. Los Altos: William Kaufmann, Inc.
  31. Roads, C. and J. Strawn, eds. 1985. Foundations of Computer Music. Cambridge: MIT Press.
  32. C. Roads, ed. 1989. The Music Machine: Selected Readings from Computer Music Journal. Cambridge: MIT Press.
  33. Rowe, Robert. Interactive Music Systems: Machine Listening and Composing. Cambridge: MIT Press. 1993.
  34. Rowe, Robert. Machine Musicianship. MIT Press, 2002.
  35. Reuter, C. 2002. Musical Dice Games; by Mozart, Haydn, and other great composers. Mainz: Schott Musik International.
  36. Schillinger, J. 1941. The Schillinger System of Musical Composition. New York: Carl Fischer.
  37. Schillinger, J. 1948. The Mathematical Basis of the Arts. New York: Carl Fischer.
  38. Selfridge-Field, E. ed. Beyond MIDI: the Handbook of Musical Codes. Cambrdige: MIT Press. 41-72.
  39. Taylor, T. 2002. Strange Sounds: Music, Technology and Culture. Routledge.
  40. Temperley, David. The Cognition of Basic Musical Structures. Cambridge: MIT Press, 2001.
  41. Winker, Todd. Composing Interactive Music. MIT Press, 1997.
  42. Winsor, P. 1987. Computer-Assisted Music Composition. Princeton: Petrocelli Books.
  43. Winsor, P. 1989. Automated Music Composition. Denton: University of North Texas.
  44. Winsor, P. 1990. Computer Composer's Toolbox. New York: Windcrest.
  45. Winsor, Phil. Computer Music in C. UNT Press, 1991.
  46. Wishart, Trevor. Audible Design. Orpheus the Pantomime Ltd., 1994.
  47. Wishart, Trevor. On Sonic Art. Publisher, year.
  48. Wolfram, S. 2002. A New Kind of Science. Champaign: Wolfram Media, Inc. Internet: http://www.wolframscience.com/nksonline/toc.html
  49. Xenakis, Iannis. Formalized Music. Pendragon Press, 1994.

Journal Articles 2001-2005 (reverse chronological order)

2005:

  1. Wooller, R. and A. R. Brown, E. Miranda, R. Berry, J. Diederich. 2005. "A framework for comparison of process in algorithmic music systems." Generative Arts Practice. University of Technology.
  2. Ariza, C. 2005. "Navigating the Landscape of Computer-Aided Algorithmic Composition Systems: A Definition, Seven Descriptors, and a Lexicon of Systems and Research." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 765-772. Internet: http://www.flexatone.net/docs/nlcaacs.pdf abstract
  3. Ariza, C. 2005. "The Xenakis Sieve as Object: A New Model and a Complete Implementation." Computer Music Journal 29(2): 40-60.

2004:

  1. Whalley, I. 2004. "Adding Machine Cognition to a Web-based interactive composition." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 197-200.
  2. Worrall, D. 2004. "Compex Systems in Composition and Improvisation." Organised Sound 9(2): 121-122.
  3. Sandred, Örjan. 2004. "Interpretation of Everyday Gestures - Composing with Rules." In Proceedings of the Music and Music Science Conference. Internet: http://www.sandred.com/Sandred-gestures.pdf
  4. Spicer, M. 2004. "AALIVENET: An agent based distributed interactive composition environment." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 211-214.
  5. Reiners, P. 2004. "Cellular Automata and Music: Using the Java Language for Algorithmic Music Composition." IBM DeveloperWorks. Internet: http://www-106.ibm.com/developerworks/java/library/j-camusic/?ca=dgr-lnxwj01j-camusic
  6. Hoffman, P. 2004. "'Something rich and strange': Exploring the Pitch Structure of GENDY3." Journal of New Music Research 33(2): 137-144.
  7. Koelsch, S. and E. Kasper, D. Sammler, K. Schulze, T. Gunter, A. D. Friederici. 2004. "Music, language and meaning: brain signatures of semantic processing." Nature Neuroscience 7: 302-307.
  8. Ciardi, F. C. 2004. "Real Time Sonification of Stock Market Data with sMax." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 177-179.
  9. Ariza, C. 2004. "An Object Oriented Model of the Xenakis Sieve for Algorithmic Pitch, Rhythm, and Parameter Generation." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 63-70.
  10. Beyls, P. 2004. "Cellular Automata Mapping Procedures." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 55-58.
  11. Blackwell, T. M. and M. W. Young. 2004. "Self-organised music." Organised Sound 9(2): 123-136.

2003:

  1. Simoni, M. 2003. Algorithmic Composition: A Gentle Introduction to Music Composition Using Common LISP and Common Music. Ann Arbor: Scholarly Publishing Office, the University of Michigan University Library. Internet: http://www.hti.umich.edu/cgi/t/text/text-idx? type=simple;c=spobooks;cc=spobooks; sid=4f2c1e1b03b19d2500f65702d1314f0c; rgn=full%20text;q1=simoni;view=toc; subview=short;sort=occur;start=1; size=25;idno=bbv9810.0001.001
  2. Miranda, E. R. 2003. "On the Music of Emergent Behavior: What Can Evolutionary Computation Bring to the Musician?." Leonardo 36(1): 55-59.
  3. Johnson, C. G. 2003. "Exploring sound-space with interactive genetic algorithms." Leonardo 36(1): 51-54.
  4. Johnson, S. 2003. "Music of the Swarms: Who needs musicians when computers can think like bees?." Internet: http://www.discover.com/mar_03/feattech.html
  5. Collins, N. 2003. "A Microtonal Tempo Canon Generator After Nancarrow and Jaffe." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 183-186.
  6. Burns, C. 2003. "Emergent Behavior from Idiosyncratic Feedback Networks." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association.
  7. Berg, P. 2003. Using the AC Toolbox. Den Haag: Institute of Sonology, Royal Conservatory

2002:

  1. Winner, J. and I. Chusid. 2002. "Circle Machines and Sequencers: The Untold History of Raymond Scott's Pioneering Instruments." Internet: http://raymondscott.com/em.html
  2. Toop, D. 2002. "Humans, Are They Really Necessary? Sound Art, Automata and Musical Sculpture." In Undercurrents: The Hidden Wiring of Modern Music. London: Continuum. 117-129.
  3. Scaletti, C. 2002. "Computer Music Languages, Kyma, and the Future." Computer Music Journal 26(4): 69-82.
  4. Solomos, M. 2002. "Xenakis' Early Works: From 'Bartokian Project' to 'Abstraction'." Contemporary Music Review 21(2-3): 21-34.
  5. McCartney, J. 2002. "Rethinking the Computer Music Language." Computer Music Journal 26(4): 61-68.
  6. Lyon, E. 2002. "Dartmouth Symposium on the Future of Computer Music Software: A Panel Discussion." Computer Music Journal 26(4): 13-30.
  7. Hoffman, P. 2002. "Towards an 'Automated Art': Algorithmic Processes in Xenakis' Compositions." Contemporary Music Review 21(2-3): 121-131.
  8. Harley, J. 2002. "The Electroacoustic Music of Iannis Xenakis." Computer Music Journal 26(1): 33-57.
  9. Harley, J. 2002. "Iannis Xenakis in conversation: 30 May 1993." Contemporary Music Review 21(2-3): 11-20.
  10. Hamman, M. 2002. "From Technical to Technological: The Imperative of Technology in Experimental Music Composition." Perspectives in New Music 40(1): 92-120.
  11. Doornbusch, P. 2002. "A Brief Survey of Mapping in Algorithmic Compositions." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 205-210.
  12. Amitani, S. and K. Hori. 2002. "Supporting musical composition by externalizing the composer's mental space." In Proceedings of the fourth conference on Creativity & cognition. New York: ACM Press. 165-172. Internet: http://doi.acm.org/10.1145/581710.581735

2001:

  1. Vaggione, H. 2001. "Some Ontological Remarks about Music Composition Processes." Computer Music Journal 25(1): 54-61.
  2. Undercofler, J. 2001. "Computer Programming and the Expanding Compositional Frontier, Part I." Internet: http://www.newmusicbox.org/page.nmbx?id=25nw09
  3. Undercofler, J. 2001. "Computers and the Expanding Compositional frontier, Part II." NewMusicBox.com. Internet: http://www.newmusicbox.org/page.nmbx?id=26nw16
  4. Sturm, B. L. 2001. "Synthesis and Algorithmic Composition Techniques Derived from Particle Physics." Internet: http://www.composerscientist.com /content/research/CATpaper.pdf
  5. Polansky, L. 2001. "Music and Computers." Internet: http://music.dartmouth.edu /%7Ebook/MATCpages/tableofcontents.html
  6. Honing, H. 2001. "From Time to Time: The Representation of Timing and Tempo." Computer Music Journal 25(3): 50-61.
  7. Garcia, R. 2001. "Growing sound synthesizers using evolutionary methods." In Proceedings ALMMA 2001: Artificial Life Models for Musical Applications Workshop (ECAL 2001). E. Bioltta, E. R. Miranda, P. Pantano and P. Todd, eds. Consenza: Editorial Bios. Internet: http://galileo.cincom.unical.it/esg /Music/workshop/articoli/garcia.pdf
  8. Dahlstedt, P. 2001. "Creating and Exploring Huge Parameter Spaces: Interactive Evolution as a Tool for Sound Generation." In Proceedings of the International Computer Music Conference. International Computer Music Association. 285-292.
  9. Assayag, G. and J. Baboni, K. Haddad. 2001. OpenMusic 4.0 User's Manual and Reference. Paris: IRCAM - Centre Georges Pompidou. Internet: http://recherche.ircam.fr/equipes /repmus/OpenMusic/Documentation /OMUserDocumentation/DocFiles /Documentation/index.html

Journal Articles and Books, 1936-1979 (chronological order):

  1. Benjamin, W. 1936. "The Work of Art in the Age of Mechanical Reproduction." Zeitschrift für Sozialforschung 5(1).
  2. Turing, A. M. 1950. "Computing Machinery and Intelligence." Mind 59: 433-460.
  3. Hiller, L. 1956. "Abstracts: Some Structural Principles of Computer Music." Journal of the American Musicological Society 9(3): 247-248.
  4. Hiller, L. 1959. "Computer Music." Scientific American 201(6): 109-120.
  5. Mathews, M. V. 1963. "The Digital Computer as a Musical Instrument." Science 142(3592): 553-557.
  6. Koenig, G. M. 1971. "The Use of Computer Programs in Creating Music." In Music and Technology (Proceedings of the Stockholm Meeting organized by UNESCO). Paris: La Revue Musicale. 93-115.
  7. Truax, B. 1977. "The POD System of Interactive Composition Programs." Computer Music Journal 1(3): 30-39.
  8. Hiller, L. 1978. "Phrase Structure in Computer Music." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 192-213.
  9. Roads, C. 1978. "An Interview with Gottfried Michael Koenig." Computer Music Journal 2(3): 11-15, 29.
  10. Roads, C. 1979. "Grammars as Representations for Music." Computer Music Journal 3(1): 48-55.

Journal Articles and Books, 1980-2000 (chronological order):

  1. DeLio, T. 1980. "Iannis Xenakis' 'Nomos Alpha': The Dialectics of Structure and Materials." Journal of Music Theory 24(1): 63-95.
  2. Koenig, G. M. 1980. "Composition Processes." In UNESCO Computer Music: Report on an international project including the international workshop held at Aarhus, Denmark in 1978. M. Battier and B. Truax, eds. Canadian Commission for UNESCO. 105-126. {amazon}
  3. Vriend, J. 1981. "'Nomos Alpha' for Violoncello Solo (Xenakis 1966): Analysis and Comments." Interface 10: 15-82.
  4. Ames, C. 1982. "Crystals: Recursive Structures in Automated Composition." Computer Music Journal 6(3): 46-64.
  5. Murail, T. 1984. "Spectra and Pixies." Contemporary Music Review 1(1): 157-170.
  6. Polansky, L. and D. Rosenboom. 1985. "HMSL." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 243-250.
  7. Boulez. 1986. "Technology and the Composer." In Orientations. J. Nattiez, ed. Translated by M. Cooper. Cambridge: Harvard University Press. 486-494.
  8. Pope, S. T. 1986. "Music Notation and the Representation of Musical Structure and Knowledge." Perspectives of New Music 24(2): 156-189.
  9. Smalley, D. 1986. "Spectro-Morphology and Structuring Processes." In The Language of Electroacoustic Music. S. Emmerson, ed. London: Macmillan Press. 61-93.
  10. Spiegel, L. 1986. "Music Mouse - An Intelligent Instrument." Internet: http://retiary.org/ls/programs.html
  11. Truax, B. 1986. "Computer Music Language Design and the Composing Process." In The Language of Electroacoustic Music. S. Emmerson, ed. New York: Harwood Academic Publishers. 155-174.
  12. Ames, C. 1987. "Automated Composition in Retrospect: 1956-1986." Leonardo 20(2): 169-185.
  13. Barlow, C. 1987. "Two Essays on Theory." Computer Music Journal 11(1): 44-60.
  14. Laske, O. 1988. "Introduction to Cognitive Musicology." Computer Music Journal 12(1): 43-57.
  15. Pressing, J. 1988. "Improvisation: Methods and Models." In Generative Processes in Music: The Psychology of Performance, Improvisation and Composition. J. Sloboda, ed. Oxford: Oxford Science Publications. 129-178.
  16. Truax, B. 1988. "Real-Time Granular Synthesis with a Digital Signal Processing Computer." Computer Music Journal 12(2): 14-26.
  17. Ames, C. 1989. "The Markov Process as a Compositional Model: A Survey and Tutorial." Leonardo 22(2): 175-187.
  18. Garton, B. 1989. "The Elthar Program." Perspectives of New Music 27(1): 6-41.
  19. Spiegel, L. 1989. "Distinguishing Random, Algorithmic, and Intelligent Music." Internet: http://retiary.org/ls/writings /alg_comp_ltr_to_cem.html
  20. Taube, H. 1989. "Common Music: A Compositional Language in Common Lisp and CLOS." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 316-319

1990-2000:

  1. Lansky, P. 1990. "A View From the Bus: When Machines Make Music." Perspectives of New Music 28(2): 102-110.
  2. Pressing, J. 1990. "Cybernetic Issues in Interactive Performance Systems." Computer Music Journal 14(1): 12-25.
  3. Prusinkiewicz, P. and A. Lindenmayer. 1990. The Algorithmic Beauty of Plants (The Virtual Laboratory). London: Springer Verlag.
  4. Ames, C. 1991. "A Catalog of Statistical Distributions: Techniques for Transforming Random, Determinate and Chaotic Sequences." Leonardo Music Journal 1(1): 55-70.
  5. Chelpa, L. M. 1991. "A Fuzzy-Set-Theoretic Framework Towards Computer Generation of Alap Patterns in Hindustani Music." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 270-276.
  6. Essl, K. 1991. "Computer Aided Composition." Internet: http://www.essl.at/bibliogr/cac.html
  7. Gogins, M. 1991. "Iterated Functions Systems Music." Computer Music Journal 15(1): 40-48.
  8. Laske, O. 1991. "Toward an Epistemology of Composition." Interface 20(3-4): 235-269.
  9. Lewis, J. P. 1991. "Creation by refinement and the problem of algorithmic music composition." In Music and Connectionism. P. Todd and D. G. Loy, eds. Cambridge: MIT Press. 212-228
  10. Ames, C. 1992. "Quantifying musical merit." Interface 21(1): 53-93.
  11. Coniglio, M. 1992. "Introduction to the Interactor Lnaguage." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association.
  12. Cope, D. 1992. "Computer Modeling of Musical Intelligence in EMI." Computer Music Journal 16(2): 69-83.
  13. Linster, C. 1992. "On Analyzing and Representing Musical Rhythm." In Understanding Music with AI: Perspectives on Music Cognition. M. Balaban, K. Ebcioglu and O. E. Laske, eds. Cambridge: AAAI Press / MIT Press. 415-427.
  14. Dannenberg, R. 1993. "Music Representation Issues, Techniques, and Systems." Computer Music Journal 17(3): 20-30.
  15. Zahler, N. 1993. "The compositional process and technological tools: An appraisal of algorithmic composition as it relates to compositional process." Associazione di Informatica Musicale Italiana 67-78.
  16. McCartney, J. 1996. "SuperCollider: a New Real Time Synthesis Language." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association.
  17. Orton, R. 1996. "Design Strategies for Algorithmic Composition." Contemporary Music Review 15(3-4): 39-48.
  18. Xenakis, I. 1996. "Determinacy and Indeterminacy." Organised Sound 1(3): 143-155.
  19. Dannenberg, R. B. 1997. "Machine Tongues XIX: Nyquist, a Language for Composition and Sound Synthesis." Computer Music Journal 21(3): 50-60.
  20. Puckette, M. 1997. "Pure Data." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 224-227.
  21. Selfridge-Field, E. 1997. "Introduction: Describing Musical Information." In Beyond MIDI: the Handbook of Musical Codes. E. Selfridge-Field, ed. Cambrdige: MIT Press. 3-38
  22. Wegner, P. 1997. "Why Interaction is More Powerful then Algorithms." Communications of the ACM 40(5): 80-91.
  23. Spiegel, L. 1998. "Thoughts on Microsoft's Algorithmic Composition Patent." Internet: http://retiary.org/ls/writings /alg_comp_patents.html
  24. Assayag, G. and C. Rueda, M. Laurson, C. Agon, O. Delerue. 1999. "Computer-Assisted Composition at IRCAM: From PatchWork to OpenMusic." Computer Music Journal 23(3): 59-72. Internet: http://www.ircam.fr/equipes /repmus/RMPapers/CMJ98/
  25. Papadopoulos, G. and G. Wiggins. 1999. "AI Methods for Algorithmic Composition: A Survey, a Critical View and Future Prospects." Internet: http://www.soi.city.ac.uk /~geraint/papers/AISB99b.pdf

Periodicals for ongoing reference:

  1. Computer Music Journal, Organized Sound, Leonardo, SEAMUS Journal, Electronic Musician Magazine, Mikropolyphonie (online journal).

Websites for ongoing reference:

  1. International Computer Music Association: www.computermusic.org
  2. Society for Electroacoustic Music in the United States: www.seamusonline.org
  3. Landy, L. and S. Atkinson. 2005. "Ears: ElectroAcoustic Resource Site." Internet: http://www.ears.dmu.ac.uk/
  4. Maurer, J. A. 1999. "A Brief History of Algorithmic Composition." Internet: http://ccrma-www.stanford.edu/~blackrse/algorithm.html
  5. Anonymous. 2000. "History of Electronic and Computer Music Including Automatic Instruments and Composition Machines." Internet: http://music.dartmouth.edu/~wowem /electronmedia/music/eamhistory.html
  6. Cope, D. 2000. "A Brief History." Internet: http://arts.ucsc.edu/faculty/cope/history.html
  7. Surrealism Test Center. 2000. "Algorithmic Music." Internet: http://www.sharemation.com/~bravedog /cyberdelia4.htm
  8. Jarvelainen, H. 2000. Algorithmic Musical Composition. Internet: http://www.tml.hut.fi/Studies/Tik-111.080/2000/papers/hanna/alco.pdf